This request arises from comments on social media regarding the negative reception of dubbing work in both Latin American Spanish and Brazilian Portuguese carried out by the dubbing group Marmac Group.

Currently, the U.S.-based dubbing localizer Bang Zoom! Entertainment handles voice work for both languages in collaboration with Marmac Group. However, this group has shown inconsistencies in the quality delivered across multiple recent productions. Their work suggests that they may not be the right choice if Bang Zoom! Entertainment values dubbing that meets audience expectations.

Dubbing is a key factor in the success of any international production. High-quality dubbing must ensure natural acting performances, consistent voice direction, proper cultural adaptation, and optimal technical standards in recording, mixing, and synchronization. When these standards are not met, it negatively impacts the perception of the product and audience satisfaction.

Below are clear examples, supported by user comments on social media—primarily Reddit, X (Twitter), Facebook, and YouTube—that illustrate the issue:

In the case of the anime The Café Terrace and Its Goddesses, the dubbing has been largely negatively received by audiences. Users on social media have pointed out that the protagonist “sounds flat” or “like he’s reading straight through,” along with vocal performances that feel unnatural in emotional scenes. There has also been criticism of attempts to replicate high-pitched tones typical of Japanese, which do not adapt well to Latin American Spanish. These observations reflect a lack of proper voice direction and cultural adaptation—both essential elements of quality dubbing. The repetition of these comments indicates a consistent perception among audiences, suggesting this is not an isolated issue but a recurring problem in dubbing quality. Additionally, an analysis video is included to demonstrate the quality differences mentioned (in spanish):

In the case of the anime My Tiny Senpai, the dubbing has also received negative feedback from audiences. On social media, users have described the dubbing as “poor quality” and have questioned the voice direction. Some comments suggest that the choice of studio may have been driven by cost-cutting measures, negatively affecting the final result. There is also a recurring preference for productions made in markets with a stronger dubbing tradition. Furthermore, there have been direct calls to platforms such as Crunchyroll LLC to implement stricter quality control in dubbing, reflecting active concern from the audience.

For the anime Yashahime: Princess Half-Demon, negative reactions to the dubbing have also been recorded. Users have pointed out issues with audio quality, describing it as unpolished. They have also criticized the lack of expressiveness in performances, noting that the voices fail to convey the characters’ emotions effectively. Additionally, inconsistencies in casting have been mentioned, where some voices are accepted while others face significant rejection. Unlike other cases where criticism centers on comparisons with previous versions, many of these comments relate to new characters, suggesting the issue lies not in nostalgia but in the perceived quality of the dubbing itself.

In the redubbing of the Rebuild of Evangelion tetralogy, partially recorded with original voices from Mexico, multiple audience reactions were also generated. Users have noted a significant disparity in quality between recordings done in different countries, citing differences in audio clarity and performance consistency. While some main voices maintain a solid level, others show both technical and acting deficiencies. This lack of uniformity has been perceived as a problem in the project’s direction and supervision. It is worth noting that some viewers consider the overall result acceptable, especially due to the inclusion of original voices for certain characters, which adds continuity and value for part of the audience. These comments highlight how differences in infrastructure, direction, and quality control can directly impact consistency within the same production. Additional reference videos analyzing these differences are included (in spanish):

The presence of similar criticisms across multiple productions indicates recurring issues in acting direction, technical quality, cultural adaptation, and quality control processes. The observations presented reflect a consistent trend across multiple communities and platforms, indicating widespread concern among consumers. This suggests that these are not isolated incidents but a structural pattern in the analyzed projects.

These deficiencies can negatively affect how productions are perceived in international markets, reducing audience satisfaction and weakening confidence in localization quality. Poor localization quality can impact audience retention, brand perception, and overall performance in global markets.

For this reason, Bang Zoom! Entertainment is urged to consider alternative providers. Below are studios with recognized industry track records for consistent acting and technical quality, operating in Latin American Spanish and Brazilian Portuguese:

• Artworks Entertainment
  • Attack on Titan (TV Series 2013–2023)
  • Fairy Tail (TV Series 2009–2019)
  • Fullmetal Alchemist: Brotherhood (TV Series 2009–2010)
• Sysdub
  • Kakegurui (TV Series 2017–2019)
  • Tatsuki Fujimoto 17–26 (TV Series 2025– )
  • The Elusive Samurai (TV Series 2024– )
• Macías Group
  • Doraemon (1979)
  • Paprika (2006)
• Iyuno
  • Re: Zero - Starting Life in Another World (TV Series 2016– )
  • Ghost in the Shell: The New Movie (2015)
  • Beastars (TV Series 2019–2026)
• Plan B3 Entertainment
  • Daemons of the Shadow Realm (TV Series 2026– )
  • The Darwin Incident (TV Series 2025– )

Bang Zoom! Entertainment is requested to take these observations into consideration and implement concrete measures to ensure consistent quality standards in its dubbing productions for international markets.

This petition represents the concerns of an audience that values dubbing as a fundamental part of the audiovisual experience.